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Description
In order to cope with the decreasing availability of symphony jobs and collegiate faculty positions, many musicians are starting to pursue less traditional career paths. Also, to combat declining audiences, musicians are exploring ways to cultivate new and enthusiastic listeners through relevant and engaging performances. Due to these challenges, many community-based chamber music ensembles have been formed throughout the United States. These groups not only focus on performing classical music, but serve the needs of their communities as well. The problem, however, is that many musicians have not learned the business skills necessary to create these career opportunities. In this document I discuss the steps ensembles must take to develop sustainable careers. I first analyze how groups build a strong foundation through getting to know their communities and creating core values. I then discuss branding and marketing so ensembles can develop a public image and learn how to publicize themselves. This is followed by an investigation of how ensembles make and organize their money. I then examine the ways groups ensure long-lasting relationships with their communities and within the ensemble. I end by presenting three case studies of professional ensembles to show how groups create and maintain successful careers. Ensembles must develop entrepreneurship skills in addition to cultivating their artistry. These business concepts are crucial to the longevity of chamber groups. Through interviews of successful ensemble members and my own personal experiences in the Tetra String Quartet, I provide a guide for musicians to use when creating a community-based ensemble.
ContributorsDalbey, Jenna (Author) / Landschoot, Thomas (Thesis advisor) / McLin, Katherine (Committee member) / Ryan, Russell (Committee member) / Solis, Theodore (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2013
Description
American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests.
ContributorsJandreau, Joshua (Composer) / Rockmaker, Jody D (Thesis advisor) / Rogers, Rodney I (Committee member) / Demars, James R (Committee member) / Arizona State University (Publisher)
Created2014
Description
This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included.
Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work.
In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer's last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
ContributorsSassaman, Melissa Ann (Author) / Schuring, Martin (Thesis advisor) / Buck, Elizabeth (Committee member) / Holbrook, Amy (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
One in five college women report being sexually assaulted (National Sexual Violence Resource Center, 2015) with college being the time when men are more likely to commit a sexual assault (Burgess, 2007). Victimization detracts from their college experience, leading to poor academic performance or less institutional commitment. College women who are victims of sexual assault are also at a higher risk of participating in risky sexual behavior. To reduce the prevalence of sexual assault at universities, it is important to develop effective prevention programs that can target and change attitudes and beliefs that contribute to the continued perpetuation of sexual violence on college campuses. Although there are multiple studies that examine the perspectives of sexual assault among college students, specifically rape myths, the majority of that research is quantitative and does not provide an in depth understanding of their beliefs and the potential factors that contribute to those beliefs. The purpose of this study was to provide an in depth analysis of the attitudes and beliefs about sexual assault among college students.
Twenty-five female and 20 male college students participated in semi-structured focus groups or interviews. Open coding was used to gain an understanding of their beliefs concerning sexual assault. Results demonstrated that students possess multiple and often contradictory beliefs about sexual assault and issues that contribute to those beliefs that can be addressed and changed using sexual assault prevention. Three of those broad themes included barriers to talking about sexual assault, social and cultural norms that contribute to sexual assault and how college students communicate their sexual needs and desires, including consent. This research reveals that researchers and advocates do not have a complete understanding of perspectives of sexual assault among college students. Prevention programs may have been developed based on incomplete information and assumptions about what college students believe. Therefore, this study provides information that can be used to develop intervention programs that specifically target the most relevant ideas about sexual assault that are most relevant to the experiences of college students.
Twenty-five female and 20 male college students participated in semi-structured focus groups or interviews. Open coding was used to gain an understanding of their beliefs concerning sexual assault. Results demonstrated that students possess multiple and often contradictory beliefs about sexual assault and issues that contribute to those beliefs that can be addressed and changed using sexual assault prevention. Three of those broad themes included barriers to talking about sexual assault, social and cultural norms that contribute to sexual assault and how college students communicate their sexual needs and desires, including consent. This research reveals that researchers and advocates do not have a complete understanding of perspectives of sexual assault among college students. Prevention programs may have been developed based on incomplete information and assumptions about what college students believe. Therefore, this study provides information that can be used to develop intervention programs that specifically target the most relevant ideas about sexual assault that are most relevant to the experiences of college students.
ContributorsBaldwin-White, Adrienne (Author) / Messing, Jill (Thesis advisor) / Williams, Lela R (Committee member) / Elias-Lambert, Nada (Committee member) / Arizona State University (Publisher)
Created2018
Description
The purpose of this study was to identify attitudes and perceptions regarding bone marrow donation among the college-aged population. This was examined by distributing an online survey via ASU e-mail list-servs. The survey was designed to measure motivations and barriers to bone marrow donation and involved a demographics questionnaire, a participant motivation survey, an incentives questionnaire, and paired comparisons between bone marrow and other forms of medical donation. The results were analyzed using one way ANOVAs, chi-square analysis, and presence or absence coding using SPSS v. 22. Significant differences were found in the way that the sexes answered parts of the participant motivation questionnaire. Significant differences were also found in the responses of participants who planned to donate bone marrow and those that did not. The main differences between those planning to donate bone marrow and those who were not planning on are as follows. Those planning to donate bone marrow or something other than bone marrow were more likely to be curious about what bone marrow donation is like and feel good about themselves for donating marrow than participants who were not planning on donating anything. Those planning to donate bone marrow were more likely to have a friend group that would be supportive than those were were not planning to donate bone marrow. Those who were not planning to donate bone marrow had more concerns regarding the risks and health effects of the act of donation itself.
ContributorsPiechowicz, Mariel Elizabeth (Author) / Maupin, Jonathan (Thesis director) / Zachary, Gregg (Committee member) / Barrett, The Honors College (Contributor) / School of Life Sciences (Contributor) / Department of Psychology (Contributor)
Created2015-05
Description
The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A.
ContributorsFigueiredo Bartoloni, Fabio (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Landschoot, Thomas (Committee member) / Arizona State University (Publisher)
Created2016
Description
Phantom Sun is a ten-minute piece in three sections, and is composed for flute, clarinet in b-flat, violin, cello, and percussion. The three-part structure for this work is a representation of the atmospheric phenomenon after which the composition is named. A phantom sun, also called a parhelion or sundog, is a weather-related phenomenon caused by the horizontal refraction of sunlight in the upper atmosphere. This refraction creates the illusion of three suns above the horizon, and is often accompanied by a bright halo called the circumzenithal arc. The halo is caused by light bending at 22° as it passes through hexagonal ice crystals. Consequently, the numbers six and 22 are important figures, and have been encoded into this piece in various ways.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
The first section, marked “With concentrated intensity,” is characterized by the juxtaposition of tonal ambiguity and tonal affirmation, as well as the use of polymetric counterpoint (often 7/8 against 4/4 or 7/8 against 3/4). The middle section, marked “Crystalline,” provides contrast in its use of unmetered sections and independent tempos. The refraction of light is represented in this movement by a 22-note row based on a hexachord (B-flat, F, C, G, A, E) introduced in measure 164 of the first section. The third section, marked “With frenetic energy,” begins without pause on an arresting entrance of the drums playing an additive rhythmic pattern. This pattern (5+7+9+1) amounts to 22 eighth-note pulses and informs much of the motivic and structural considerations for the remainder of the piece.
ContributorsMitton, Stephen LeRoy (Author) / DeMars, James (Thesis advisor) / Norton, Kay (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
To reduce the environmental burden of transport, previous studies have resorted on solutions that accentuate towards techno-economical pathways. However, there is growing evidence that transport behaviors, lifestyle choices, and the role of individuals' attitudes/perceptions are considered influential factors in shaping households’ engagement with sustainable technologies in the face of environmental crises. The objective of this dissertation is to develop multidimensional econometric model systems to explore complex relationships that can help us understand travel behaviors' implications for transport and household energy use. To this end, the second chapter of this dissertation utilizes the latent segmentation approach to quantify and unravel the relationship between attitudes and behaviors while recognizing the presence of unobserved heterogeneity in the population. It was found that two-thirds of the population fall in the causal structure where behavioral experiences are shaping attitudes, while for one-third attitudes are shaping behaviors. The findings have implications on the energy-behavior modeling paradigm and forecasting household energy use. Building on chapter two, the third chapter develops an integrated modeling framework to explore the factors that influence the adoption of on-demand mobility services and electric vehicle ownership while placing special emphasis on attitudes/perceptions. Results indicated that attitudes and values significantly affect the use of on-demand transportation services and electric vehicle ownership, suggesting that information campaigns and free trials/demonstrations would help advance towards the sustainable transportation future and decarbonize the transport sector. The integrated modeling framework is enhanced, in chapter four, to explore the interrelationship between transport and residential energy consumption. The findings indicated the existence of small but significant net complimentary relationships between transport and residential energy consumption. Additionally, the modeling framework enabled the comparison of energy consumption patterns across market segments. The resulting integrated transport and residential energy consumption model system is utilized, in chapter fifth, to shed light on the overall household energy footprint implications of shifting vehicle/fuel type choices. Results indicated that electric vehicles are driven as much as gasoline vehicles are. Interestingly, while an increase in residential energy consumption was observed with the wide-scale adoption of electric vehicles, the total household energy use decreased, indicating benefits associated with transportation electrification.
ContributorsSharda, Shivam (Author) / Pendyala, Ram M. (Thesis advisor) / Khoeini, Sara (Committee member) / Grimm, Kevin J. (Committee member) / Chester, Mikhail V. (Committee member) / Garikapati, Venu M. (Committee member) / Arizona State University (Publisher)
Created2021
Description
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
Description
Arnold Schoenberg’s Pierrot Lunaire, written in 1912 for an ensemble of flute, clarinet, piano, violin, cello, and voice
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
arrator (with certain instrumental doublings), has, since its premiere, greatly influenced composers writing chamber music. In fact, this particular instrumentation has become known as the “Pierrot Ensemble,” with variations on Schoenberg’s creation used by Igor Stravinsky, Luciano Berio, and many other composers.
There are many resources devoted to music for chamber winds composed during the twentieth century, including those inspired by Schoenberg’s configuration. Additionally, many sources have comprehensively covered known chamber music composed before 1900. However, there is very little research dedicated to chamber wind music composed since 2000.
The purpose of this study is to contribute to the body of research about the music by: 1) creating an annotated bibliography of 21st century wind chamber music.; and 2) thereby catalyzing the discovery of recently composed wind chamber music. Moreover, I hope to address and encourage diversity through my research. To that end, the Composer’s Diversity Database was used as a primary resource for discovering compositions written since 2000 for wind/percussion-based ensembles comprising six to thirteen players.
ContributorsBrown, Jr., Fredrick Marcell (Author) / Hill, Gary W. (Thesis advisor) / Caslor, Jason (Committee member) / Schmelz, Peter (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019